Shock Totem Radio
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Recently, a writer friend on Facebook posted about how he hated the “who you know” model for advancing his writing career, but he acknowledged that most of his opportunities came from people he knew. I can relate.
It’s not just in writing, the whole world revolves on a “who you know” axis. Every job I’ve ever gotten has been because of who I knew, whether directly or indirectly. Friends and contacts are an invaluable resource that you can and should be using to further your writing.
There is social media, like Facebook and Twitter, but there are other methods as well. We here at Shock Totem have a variety of ways that we try to aid writers in developing their talent on our message board. There are two very popular flash contests that we host regularly, as well as the underused Writer’s Workshop section for critiques, submission calls, etc. And we are happy to provide them.
We want to see writers improve and succeed, particularly horror writers, since that’s what we’re all about. There are a whole lot of fantastic writers slogging away in the trenches, and we’re doing what we can to lift up those whose work we deem to be noteworthy.
But as I replied to my friend, “who you know” has a darker side as well.
While we can and should be promoting our writer friends, there is a fine line between encouragement and enabling. If your friend has written and published a great book, buy it, and encourage others to do so. But if your friend has written and published a book that is rife with spelling and grammatical errors or just poor writing, you’re not helping them by promoting it as a “must read”. In fact, you’re harming them.
The whole idea of promotion is to widen your circle, so that not only your friends and family buy your books out of a sense of obligation, but also their friends and so on, until people who have no clue who you are are tweeting about how much they enjoyed your book. But if people buy a book because someone hyped it on Amazon or Facebook, only to discover that the book is bad, how likely are they to buy another book based on that person’s recommendation?
In these days of self-publishing, when anyone can write a short story one day and offer it for sale the next, a lot of sub-par writing is being published, promoted and praised. Writing is a difficult and laborious process, you don’t go from joker to genius overnight. Take your time; get a real, honest critique from someone who not only knows good writing from bad, but also isn’t afraid to tell you which camp you’re in.
Even literary giants started by writing poorly. But in the days when getting a book published was difficult, they had knowledgeable editors who were not afraid to tell them that their story needed work. Nowadays, if your only editors are your friends, how can you be sure that they are giving you an honest and educated opinion?
If you’re a writer, seek out someone who isn’t afraid to tell you that your story stinks, and can offer helpful suggestions to make it better. And if you’re an enabler, promoting or endorsing sub-par writing because the writer is a “nice person” or you want them to promote your book, knock it off. You’re operating on the dark side.
Here’s a handful of links from around the Internet that we found interesting this past week.
First, over at Liberty Conspiracy, Gard Goldsmith has posted two podcasts featuring over an hour’s worth of interviews and commentary recorded at this year’s World Horror Convention in Austin, Texas. You can listen to part one here and part two here. Great stuff!
On the writing front, here’s something for the struggling writer: Thirteen tips to help you get some writing done. And this would probably fall under the category of Struggling Writer, but specifically, here’s a little something for the depressed writer. But maybe you’re neither struggling nor depressed, so how about a Writer Reality Check? Can’t hurt.
And with that, I’ll leave you with these amazing images.
Here are a handful of links from around the Internet that we found interesting this past week.
First up, some stuff on writing. Shane Staley of Delirium Books posted an interesting essay on the current state of small-press horror. A more upbeat piece comes from Adrienne Crezo, where she tells us that the “Big Debate” doesn’t matter.
Here are a couple tips on handling rejection: Jacqueline Howett responds to a review of her book, The Greek Seaman. Read the comments, then always do the opposite. Though a bit one-sided, presented as it is, over at Crossed Genres we were shown yet another example of a not-so-recommended rejection response.
Now, how about some fun and cuddly arachnids? A man in Dortmund, Germany is killed and then eaten by his creepy-crawly pets. And in flood-ravaged Pakistan, spiders have taken to the trees in what can only be described as something out of a nightmarish fantasy.
[ Photo by Russell Watkins ]
Scares the hell outta me, anyway!
Note: This post does not reflect how things are handled at Shock Totem.
So you just finished a 5,000-word story. Read on…
Have you ever heard an editor say a story needs to grab him—or her—within the first few pages? Have you ever thought about what that means for you, as a writer? What it really means?
In the business of reading slush, where hundreds of stories pour in weekly, those first couple pages can mean the difference between rejection and acceptance. Some editors say a story needs to grab hold from the opening line, and while some authors pull this off with ease, others take a slower approach. Some authors start with explosions, while others light small fires that grow and grow…
Because some stories beg for the explosive intro, and others require a slow build. It all depends on the tale (excluding flash fiction, which has no excuse not getting right down to business). But how often is a great story overlooked because an editor—and there are plenty who subscribe to this school of thought—thinks a story needs that WHIZBANGPOW! opening?
I recently finished a 5,300-word story. In standard submission format—12pt Courier font, double-spaced—it’s 29 pages long. Now let’s discuss exactly what that translates to: Changing the format to Times New Roman, single-spaced, the story shrinks from 29 pages down to 11. What was once the first three pages an editor sees is now barely a quarter of the way down page two, and the story starts halfway down page one! So we’re talking a mere 483 words.
Frightening. But it’s worth thinking about.
We, the writers, must impress within the first few pages, right? We’re told this over and over again. But depending on the publication that standard may be an illusion, because in standard submission format, those pages represent but a handful of words—not pages. And that’s just to keep the door from closing, let alone getting your story across the threshold! And beyond that there’s a whole new set of obstacles.
Less than 500 words…